The conference will bring together those who would like to develop creative ideas related to interdisciplinary collaborations and the expansion of high impact education practices. We welcome proposals that address questions of high impact practices – common intellectual experiences, collaborative assignments and projects, undergraduate research, diversity/global learning, service learning, community-based learning, internships, and capstone courses and projects. Many of these practices are often accomplished through effective interdisciplinary collaborations that deepen academic and intellectual engagement both in the academy and community. We are particularly interested in panels that address best practices, challenges and recommendations related to these experiential and community-based learning and research practices. How are high impact practices best accomplished in both academic and community settings? What strategic collaborations can be developed across disciplines that enrich the incorporation and design of high impact practices? What collaborations would you like to explore, propose, learn more about or solidify?

Sixth College, UC San Diego is committed to interdisciplinarity, innovative research and learning and so for this conference we welcome collaborative exchanges that both enhance academic debates, make significant contributions to the body of knowledge and engage the university and community in substantive and meaningful ways.

Myra Strober (2011) in her book, Interdisciplinary Conversations, likens talking across disciplines – to interacting with someone from a different culture. The challenges in these dialogues emerge in valuing the differences in our colleagues’ disciplines – their mode of thinking, methods of analysis, discernment and reporting that which is “true.” College Learning for the New Global Century, a recent report published American Association for College and Universities (AAC&U) identified essential learning outcomes needed for a complex and dynamic world. Among these were critical and creative thinking; intercultural knowledge and competency; and integrative learning – the ability to synthesize and connect concepts across general and specialized studies. Many organizations view innovation as their most important comparative advantage, and so employers are increasingly seeking to hire graduates who can think beyond the routine, and who have the ability not just to adapt to change, but to help create it, according to the AAC&U report. Members of the workforce of the future will be challenged to be “T-shaped” – with a depth of knowledge in at least one discipline and the capacity to converse in the language of a broad range of disciplines. The National Science Foundation has been a leader in exploring innovative and interdisciplinary initiatives in academic and community contexts. Pamela Jennings, an NSF Program Director notes: “STEM to STEAM pedagogy integrates a broad range of learning methods and learning ecologies from the empirical studies in the science lab, constructive critique in the design studio and creative discoveries in informal learning settings.”

Sixth College, UC San Diego invites you to dialogue with us. What kinds of collaborations can be forged between artists and scientists, for instance, and multiple researchers in the social sciences? How can we best prepare students to thrive in these interdisciplinary and increasingly complex environments? What unique and creative approaches would you like to share about addressing complex questions in our world?

Conference submissions may be organized around the following themes related to high impact practices and interdisciplinary collaborations: Community-based research and learning, Technology/Digital Literacy, Leadership development, STEM to STEAM research and learning, Public Health, student learning outcomes and assessment, STEM discipline engagement, student affairs and academic affairs collaborations and many more.

The goals of the conference are to:

Develop strategies for building interdisciplinary collaborations in higher education;

Increase opportunities for collaboration and networking among those engaged in experiential learning in its various forms;

Foster more institutional dialogue about the value of high impact practices in higher education;

Collaborate with students who have been both campus or community partners in high impact practices

Keynote: Connected Learning

Mimi Ito

Today’s learners are immersed in an abundance of information, media and ubiquitous social connection. Despite unprecedented access to educational resources and expertise, our research found only a small minority of young learners leveraging new media to further academic and career relevant learning or their civic engagement. How can we best guide, mentor, and teach young people in this era of abundant knowledge and connectivity? Can new media build stronger connections between in school and out of school learning? And how can we do this in a way that supports the interests and identities of all learners? Connected learning offers a model for how to leverage new technology in ways that serve progressive learning goals, linking young people’s academic, social, and recreational lives.

This presentation includes an overview of the work to date of the campus-wide Education Initiative at UC San Diego.

The aim of the Education Initiative is to look at ways that UC San Diego can adapt the current best global thinking about high-impact educational strategies to further support the intellectual, academic, cognitive, and social development of our undergraduate and graduate students, as well as to give faculty access to the latest research on learning and teaching that they can then incorporate into their courses.

The Education Initiative was formally launched in Fall 2012 as a complement to UC San Diego’s research initiatives. In 2012-2013 under the direction of the Education Initiative Working Group, co-chaired by Dean of Graduate Studies Kim Barrett and Dean of Undergraduate Education Barbara Sawrey, over eighty members of the faculty and staff worked together to examine Technology-Enhanced Education, Co-Curricular and Out-of-Class Activities, Engagement Inside the Classroom, and Real World Preparedness/ Transferrable Skills/ Career Competencies at the university. This year, 2013-2014, in alignment with the Chancellor’s Strategic Plan, two committees continue the work of the Education Initiative in the areas of Engaged Teaching and Engaged Learning.

Dr. Sawrey will share the work accomplished to date and plans moving forward.

Southern California faculty at UC San Diego, USC, Occidental, and the Claremont Colleges have been active participants in the global distributed online course with a number of unique experiential learning components, including WikiStorming Wikipedia entries, video production, blogging and blog commenting, and critical making and gift exchange activities. For more information about this global initiative please visit http://femtechnet.newschool.edu/

Undergraduate Student Research/Education

I propose a paper that shall detail my experience as an undergraduate UCSD student that is in the process of developing a financial venture, an experience that has brought meaning and context to my education and has given it a greater impact on my thought processes and perspectives. The venture is called OpenKeep and it's a service that has been created to facilitate what me and my team (consisting of four other members from varied backgrounds) have identified as the core steps of the research process within social and behavioral sciences through participant gathering to data collection, to analytics and publishing. I shall address how the ecology at UCSD contributed to the formation of this team and our learning experience in terms of sparking interest, cultivating interest and motivation, providing physical resource such as space and tools, and perhaps most importantly, providing social resources such as high potential for interdisciplinary collaboration, open leadership positions, and experimentation with tangible community.

I shall detail at what point OpenKeep is at the present moment, how it contributes to a growing environment of experiential learning by creating a more accessible and streamlined research process for a larger than traditional audience, and what needs to be happen in terms of further engagement with the UCSD ecology to bring this venture and more experiences like to bear greater impact on earning of students and the community at large. This represents an investigation into the research as an institutionalized process versus a naturally occurring human phenomena and how bridging the gap, (perhaps by allowing high school students to conduct their own real-time studies), and introducing an accessible citizen science platform like OpenKeep might inject meaning, context, and clarity into the education of people at all levels.

Hands-on 'undergraduate research opportunities' (UROs) allow students to learn more than they could from coursework alone. Such experiences are also essential on CV's for graduate school. Most UROs either require faculty to set up a project and invite a few select undergrads to participate, or they are based on funding for summer programs or internships. This vastly reduces the number of opportunities available. Yet, most advanced graduate students are more than capable of mentoring a couple undergraduates on modestly sized projects, thereby greatly expanding the pool of potential UROs. This proposal offers a handful of capacity-building steps academic departments could do to enhance the bridge between graduate and undergraduate research collaboration.

Nearly two centuries have passed since the Royal Institution introduced their series of philosophical lectures and experiments revealing the "application of Science to the common Purposes of Life'. Today, the pedagogical value of live science demonstrations is recognized in both informal and formal education. Yet how is the learner's experience transformed as (s)he assumes the role of demonstrator or experimenter? A first-hand introduction to science phenomena was used to foster the engagement and capacity of university students in a traditional, lecture-based general education course in chemistry for non-science majors. Working in teams, more than 400 students planned and presented in discussion sections a visual illustration of a chemical concept. Students were encouraged to use readily available, inexpensive, and safe materials, to practice the predict-observe-explain technique as a way of engaging their peers, and to make connections to chemistry in everyday life. Learning outcomes and student feedback will be presented.

Collaborations: Teachers and Artists (CoTA) is an innovative educational non-profit that has been engaged in meaningful, cross-sector collaborations for 15 years. The program trains teachers in effective arts-infused pedagogy for the purpose of raising student achievement and enhancing creativity. CoTA pairs professional artists with classroom teachers for 3-year partnerships to develop their confidence and skills for employing the arts as a vehicle for teaching and learning across all subject areas, including science, math, history and language. Through this work, CoTA has a deep perspective on the conditions and strategies required for successful collaborations. This presentation will showcase CoTA's work from the theoretical framework of social contact theory, mapping the development of interdisciplinary collaborations along the continuum of cultural proficiency. We will present the best practices established through our collaborations with artists and teachers. Furthermore we will present findings from our research partners in the Education Studies Department at UCSD to demonstrate the impact this interdisciplinary work has had on student achievement. This presentation will be relevant to conference attendees for two reasons. First, the best practices can be extrapolated and applied in both higher education and community settings. Secondly, as the nation adjusts to the new standards for learning in public education, the Common Core State Standards, schools will have to adapt to the new requirements, which place a heavy emphasis on integrating knowledge across disciplines and fostering student collaborations. Understanding models for facilitating this shift in instructional methodology at the classroom level will have implications for the creative workforce.

Engineering students often design systems and prototypes, without considering its impact in current markets. Business students have an excellent idea on concept and systems that have the biggest impact, but lack engineering skill to design the prototype.

The ECE-Rady Design Competition is created to foster collaboration between engineering students, who build devices, and business students, who study/analyze the corresponding market. To challenge their creativity, the theme for the competition is to create a device/system that effectively uses at least three senses (vision, hearing, touch, smell, taste), which makes significant impact in everyday life. Each team must have of at least one ECE student and one Rady student. Eight teams participated in the competition and each was given $1K each for supplies and materials.

On Triton Day 2013, the eight teams prepared poster and demonstrated their devices to the student attendees and their family members, who ranked the projects on both technical and business impact. The top three teams were awarded cash prize. We'll discuss the organization and structure of the competition as well as feedback from the participants. We'll also share some ideas on future projects.

For the past twelve years, Thurgood Marshall College and the Academic Internship Program have partnered together to offer a unique learning experience through the Public Service Minor. The concept of the Public Service Minor was driven by the desire to offer undergraduates an interdisciplinary academic experience in public service. The Public Service Minor encourages students to understand the history and practices of public service and to work towards the development of civic skills. What makes the minor truly unique is that in addition to traditional courses, the minor's curriculum also requires a three-quarter field experience related to public service. The field experiences are completed through the Academic Internship Program (AIP 197) where students participate in meaningful internships in the non-profit sector. During their internships, PSM students develop knowledge, skills, and values from direct experiences working in the non-profit settings and therefore have a platform to link their academic knowledge with real-world encounters. The experiential learning that occurs from completing an internship encourages students to see the connection between efforts of charitable services and the importance of contributing citizens.

The Minor's curriculum consists of seven courses that allow undergraduates to learn about the history and development of the non-profit sector in one of four specialization areas including health, social issues, government and education. The minor's courses includes the required Capstone course titled 'Public Service in America' (TMC 15), three upper-division 'specialization' classes, and three upper-division field experiences competed through the Academic Internship Program.

In this panel, we will discuss the history and structure of the minor, the life cycle of the student's experience, and college management of the minor. We will provide a brief overview of the inception of the minor and provide insight into how the AIP office and TMC collaborate to ensure the minor is a success. We will also hear from a current PSM student to gain their perspective and explore ways in which we have addressed the challenges of managing an interdisciplinary program.

Internships are traditionally considered within the context of professional development and academic application; however they can also be impactful venues for service learning. Students can apply their academic knowledge through a professional position with a non-profit, government organization, or a social enterprise. The Public Service Internship Program at Tulane University's Center for Public Service (CPS) fosters service learning and professional development through its unique design featuring a weekly reflection seminar. While CPS has formed their reflection seminars to address topics in community engagement that are relevant across disciplines, several participating academic departments also have created their own seminars which specifically complement their student's public service internships. This kind of departmental participation is indicative of an increasing interest in service-oriented careers and on-the-ground experience across fields.

The proposed presentation will describe the design and context of the Public Service Internship Program at CPS, including the placement process, reflection seminar, and internship contribution. The reflection seminar will be the primary focus, and will include an overview and analysis of the content from both the CPS-led "Topics in Community Engagement" seminar for a variety of majors, as well as the "Careers in Health Science" seminar designed for Neuroscience and Cell and Molecular Biology students. The presentation will address the purpose and pedagogical benefits to pairing public service internships with reflection seminars.

Attendees will learn about the program scope, structure and processes, and assessment of student learning outcomes. Find out about UCI School of Social Ecology’s efforts to reinvigorate the program to better serve our communities and students while operating with a small budget and a staff of .75 FTE and two student interns. Time will be devoted to a dialogue about best practices, challenges and solutions in delivering these types of opportunities to our communities. The UC Irvine School of Social Ecology strives to develop future leaders equipped with solid communication, critical thinking, analytical, technological, and interpersonal skills through experiential field study opportunities. These opportunities prepare students to tackle the pressing issues confronting business and community leaders locally, regionally, nationally, and globally. Since 1970, Field Study has been a requirement for students seeking a baccalaureate degree from Social Ecology and is an element of the school’s commitment to training future leaders. To fulfill the field study requirement, students complete the field work while concurrently engaged in a small group seminar facilitated by ladder-rank faculty. Optionally, students may complete up to 600 hours to fulfill elective credits. Annually over 900 students complete the requirement at a placement with one of our more than 225 non-profit, public and private sector agencies. Most faculty in the school teach at least one section of field study each year.

This panel presentation introduces the Partners At Learning (PAL) Program housed within UC San Diego's Education Studies Program. Grounded in a social justice approach to service learning, PAL offers a series of undergraduate courses that seek to provide UCSD undergraduates with opportunities to learn the cultural and linguistic diversity of San Diego, and to confront their own assumptions about status and privilege.

PAL courses provide students with an introduction to theoretical and practical issues in preK-12 education by incorporating both academic work and a fieldwork component into the course structure. The goals for all PAL classes are twofold. We strive to provide our university students with meaningful experiences that facilitate their understanding and appreciation of the complexities of a multicultural community as seen in the public school setting. We also strive to support our local communities by providing mentors and tutors to underserved, underrepresented schools and neighborhoods. We deliberately structure class sessions, readings, lectures, and discussion sessions to challenge preconceived notions and assumptions about merit, ability, language, culture, and academic achievement. We believe that the vital link between theory and practice provides our students with constructs through which they can examine issues of social injustice, as they pertain to schools and society . Furthermore, this vital link allows students to question their own assumptions, and to reflect on their practices as they work with marginalized students, learn from the communities outside the university, and critically think about their roles in enacting change and partaking in social action.

We will begin the panel by briefly presenting and discussing the theoretical frameworks that guide the design and implementation of PAL curricula.

Then student panel members from a variety of PAL classes will discuss their experiences - both in the field and as learners. They will talk about their participation in service-learning programs seeking to foster social justice among our youth.

We will also have UCSD student panel members who chose to pursue a new "advanced PAL" course sequence in which they develop and explore a research question relevant to their field placement.

Additionally, we will have several community panel members (e.g. teachers, school administrators, parents) who will discuss the impact of PAL from their perspectives.

Interaction between panel members and among panel members and audience members will provide an open forum for questions and a deepening understanding of the ways experiential learning can support the academic and social growth of ALL participants.

One of the many roles of the writing instructor is to act as a mediator between "macro-level" university and departmental demands for student development, and student needs for "micro-level" attention in the classroom. High-impact course design attempts to merge these two sides by involving students, faculty, and advisers in a collaborative teaching model. However, its methodologies still rely on the relationship between instructor and student, and are ultimately focused on the ways instructors can create a productive classroom environment.

CAT Associate Director Ash Smith will conduct a roundtable focused on the ways that the Sixth College CAT Program addresses the challenges of implementing high-impact teaching practices in the classroom. How can the concerns of high impact and experiential learning be translated for any teacher looking to reinvigorate the class space? Graduate students Lucas Cuddy, Hanna Tawater, Kiik Araki-Kawaguchi and Keith McCleary will speak on how class discussion, student conferences, draft feedback, and lectures can be "tweaked" to encourage deeper, more meaningful student involvement, as well as how to address course content and developmental learning goals within lesson plans.

This paper reflects on this use of Ignite-style presentations in CAT 125. CAT 125 is the upper-division writing course for Sixth College designed to give students the tools and hands-on experience they need to communicate their expertise to multiple audiences across multiple genres. Having been a teaching assistant for this course over the past three years, I have noticed a trend of success with one assignment in particular -- Ignite presentations. Similar to Pecha Kucha, this style is highly structured and timed; and quarter after quarter, it seems to produce the best student work.

My question, in the context of this conference, is why? Why do students excel at this assignment? And what about it encourages them to do so? Identifying two distinguishing features of Ignite-style presentations -- structure and audience -- I discuss how each has influenced the students' learning experience. By reflecting upon this specific example, I hope to open up a larger conversation about the pedagogical benefits (or pitfalls) of a strictly imposed structure and an audience of one's peers.

The Blum Center grant project: UCSD-community partnerships

The UCSD Community Stations Initiative is a pilot community outreach and educational effort that was launched two years ago at a special public exhibition at the Calit2 Gallery (see video). The initiative convenes a collective body of university leaders from campus departments and centers to engage a variety of social service and cultural community-based agencies located in demographically diverse neighborhoods in San Diego, connecting our campus to the local communities that surround it. The UCSD Community Stations is essentially a corridor of knowledge-exchange, linking the specialized knowledge of the university with the ethical knowledge embedded in marginal neighborhoods and communities in order to produce new forms of civic imagination and collaborative models of education between UCSD and local community-based NGOs working on issues of socio-economic and environmental justice. This initiative, framed and supported by Calit2-generated technology infrastructure, has been already deployed at the local NGO’s mentioned above, and courses have begun to be shaped in conjunction with these communities across a variety of topics and exchanges. Three main ventures, or “community stations” are currently underway, with several nascent ones in formation. We propose a panel for the Sixth College Experiential Learning Conference on January 31, devoted to discussing the Blum-UCSD Community Stations Initiative generally, with a focus on the protocols and curricula of the three partnerships that are currently underway. The GreenSTEAM Community Station, located in Southeast San Diego; the Groundwork Community Station, located in the Diamond District; and the Cross-Border Community Station, straddling the border in both San Ysdiro and in the Los Laureles canyon of Tijuana. The panel will convene faculty, graduate students, undergraduate students and community partners involved in each of these three stations.

Ethnographic Film Production As Experiential Learning

This paper provides an account of how the author's intensive participation in a collaborative learning environment lead to the emergence of heightened individual reflexivity in her ethnographic thesis film, The Altarmakers (2013).

As a sub-field within cultural anthropology, ethnographic film has been taught in American universities for over fifty years. In the 1980s, centers and graduate programs in the field were established—at New York University, the University of Southern California, and University of Manchester in the U.K.—and in the last dozen years, with the proliferation of digital media, many new programs devoted to teaching and research in the production of ethnographically informed video have been launched. Undertaking ethnographic research and representing your findings audio-visually in a documentary video is an inherently experiential process. Both ethnography and documentary filmmaking require practitioners to attend to the world and people around them, think on their feet, negotiate uncertainty, and be prepared to adapt, or change course, as a project develops. Both are embodied practices that require a range of interrelated skills and coordinated sensibilities. Teaching and learning them effectively in a university setting requires instructors and students of ethnographic filmmaking to negotiate many of the questions and challenges of community-based, interdisciplinary, collaborative, and experiential learning discussed in the conference call.

This panel brings recent graduates of an intensive one-year M.A. program in visual anthropology together with the instructor who developed the production courses and extra-curricular program that, since 2009, have guided four cohorts (27 students) through the process of undertaking original field research and completing a professional, 30-minute ethnographic video within a single calendar year (August to August). The intensive and practice-centered demands of the program require both instructor and students to work holistically in ways that fall outside conventional curricular and administrative structures. While the panelists have success stories and best practices to share, they also discuss the obstacles and challenges of undertaking such experiential learning under the time and financial pressures of contemporary life.

This paper explores the value and challenges of incorporating online video into the process of making an ethnographic film.

As a sub-field within cultural anthropology, ethnographic film has been taught in American universities for over fifty years. In the 1980s, centers and graduate programs in the field were established—at New York University, the University of Southern California, and University of Manchester in the U.K.—and in the last dozen years, with the proliferation of digital media, many new programs devoted to teaching and research in the production of ethnographically informed video have been launched. Undertaking ethnographic research and representing your findings audio-visually in a documentary video is an inherently experiential process. Both ethnography and documentary filmmaking require practitioners to attend to the world and people around them, think on their feet, negotiate uncertainty, and be prepared to adapt, or change course, as a project develops. Both are embodied practices that require a range of interrelated skills and coordinated sensibilities. Teaching and learning them effectively in a university setting requires instructors and students of ethnographic filmmaking to negotiate many of the questions and challenges of community-based, interdisciplinary, collaborative, and experiential learning discussed in the conference call.

This panel brings recent graduates of an intensive one-year M.A. program in visual anthropology together with the instructor who developed the production courses and extra-curricular program that, since 2009, have guided four cohorts (27 students) through the process of undertaking original field research and completing a professional, 30-minute ethnographic video within a single calendar year (August to August). The intensive and practice-centered demands of the program require both instructor and students to work holistically in ways that fall outside conventional curricular and administrative structures. While the panelists have success stories and best practices to share, they also discuss the obstacles and challenges of undertaking such experiential learning under the time and financial pressures of contemporary life.

: This paper will attempt to recontextualize a moment of perceived failure in the field as a profound opportunity for insight, empathy, and the production of ethnographic knowledge.

As a sub-field within cultural anthropology, ethnographic film has been taught in American universities for over fifty years. In the 1980s, centers and graduate programs in the field were established—at New York University, the University of Southern California, and University of Manchester in the U.K.—and in the last dozen years, with the proliferation of digital media, many new programs devoted to teaching and research in the production of ethnographically informed video have been launched. Undertaking ethnographic research and representing your findings audio-visually in a documentary video is an inherently experiential process. Both ethnography and documentary filmmaking require practitioners to attend to the world and people around them, think on their feet, negotiate uncertainty, and be prepared to adapt, or change course, as a project develops. Both are embodied practices that require a range of interrelated skills and coordinated sensibilities. Teaching and learning them effectively in a university setting requires instructors and students of ethnographic filmmaking to negotiate many of the questions and challenges of community-based, interdisciplinary, collaborative, and experiential learning discussed in the conference call.

This panel brings recent graduates of an intensive one-year M.A. program in visual anthropology together with the instructor who developed the production courses and extra-curricular program that, since 2009, have guided four cohorts (27 students) through the process of undertaking original field research and completing a professional, 30-minute ethnographic video within a single calendar year (August to August). The intensive and practice-centered demands of the program require both instructor and students to work holistically in ways that fall outside conventional curricular and administrative structures. While the panelists have success stories and best practices to share, they also discuss the obstacles and challenges of undertaking such experiential learning under the time and financial pressures of contemporary life.

This paper reflects on navigating the use of social media in the process of creating an ethnographic film.

As a sub-field within cultural anthropology, ethnographic film has been taught in American universities for over fifty years. In the 1980s, centers and graduate programs in the field were established—at New York University, the University of Southern California, and University of Manchester in the U.K.—and in the last dozen years, with the proliferation of digital media, many new programs devoted to teaching and research in the production of ethnographically informed video have been launched. Undertaking ethnographic research and representing your findings audio-visually in a documentary video is an inherently experiential process. Both ethnography and documentary filmmaking require practitioners to attend to the world and people around them, think on their feet, negotiate uncertainty, and be prepared to adapt, or change course, as a project develops. Both are embodied practices that require a range of interrelated skills and coordinated sensibilities. Teaching and learning them effectively in a university setting requires instructors and students of ethnographic filmmaking to negotiate many of the questions and challenges of community-based, interdisciplinary, collaborative, and experiential learning discussed in the conference call.

This panel brings recent graduates of an intensive one-year M.A. program in visual anthropology together with the instructor who developed the production courses and extra-curricular program that, since 2009, have guided four cohorts (27 students) through the process of undertaking original field research and completing a professional, 30-minute ethnographic video within a single calendar year (August to August). The intensive and practice-centered demands of the program require both instructor and students to work holistically in ways that fall outside conventional curricular and administrative structures. While the panelists have success stories and best practices to share, they also discuss the obstacles and challenges of undertaking such experiential learning under the time and financial pressures of contemporary life.

The paper shares both success and war stories of teaching the practice of cine-ethnography in the neoliberal squeeze and within disciplinary, institutional, and popular contexts where a technical skills model of media production persists.

As a sub-field within cultural anthropology, ethnographic film has been taught in American universities for over fifty years. In the 1980s, centers and graduate programs in the field were established—at New York University, the University of Southern California, and University of Manchester in the U.K.—and in the last dozen years, with the proliferation of digital media, many new programs devoted to teaching and research in the production of ethnographically informed video have been launched. Undertaking ethnographic research and representing your findings audio-visually in a documentary video is an inherently experiential process. Both ethnography and documentary filmmaking require practitioners to attend to the world and people around them, think on their feet, negotiate uncertainty, and be prepared to adapt, or change course, as a project develops. Both are embodied practices that require a range of interrelated skills and coordinated sensibilities. Teaching and learning them effectively in a university setting requires instructors and students of ethnographic filmmaking to negotiate many of the questions and challenges of community-based, interdisciplinary, collaborative, and experiential learning discussed in the conference call.

This panel brings recent graduates of an intensive one-year M.A. program in visual anthropology together with the instructor who developed the production courses and extra-curricular program that, since 2009, have guided four cohorts (27 students) through the process of undertaking original field research and completing a professional, 30-minute ethnographic video within a single calendar year (August to August). The intensive and practice-centered demands of the program require both instructor and students to work holistically in ways that fall outside conventional curricular and administrative structures. While the panelists have success stories and best practices to share, they also discuss the obstacles and challenges of undertaking such experiential learning under the time and financial pressures of contemporary life.

Engaging with Primary Sources in First-Year College Writing

In our increasingly digital world, hands-on encounters with original primary sources serve as tangible, sometimes even visceral, ties to the people and events connected with those sources. Holding an original drawing, diary, or letter, captures the interest and imagination more than a digital surrogate or reprint ever will. The texts themselves are artifacts. These artifacts become powerful tools for learning when integrated into the curriculum and aligned with a course or program's stated learning objectives, and serve as a creative and effective way of strengthening skills of observation, analysis, critical thinking, and historical empathy. This panel will discuss efforts to integrate the use of original hand-drawn WWII political cartoons from the Dr. Seuss Collection into UC San Diego's Sixth College First-Year writing program, Culture, Art & Technology (CAT), in a creative collaboration between a special collections librarian, Sixth College CAT staff, and CAT instructors. With guidance from special collections librarians, students in CAT 1 examined the original drawings by Theodor Geisel, popularly known as Dr. Seuss, alongside editions of the newspapers in which they were published, and followed up on this experience with a written assignment analyzing the cartoons. Curious and surprised by the overtly political leanings of this famous children's book author, students were drawn into the act of critical analysis of sources' historical and cultural contexts. The hands-on, student-centered experience successfully enabled students to tangibly connect with source materials and feel invested in what they were writing about. Program staff and instructors designed lectures, discussions, and readings around the theme of the archival documents in order to prepare and frame their visit to the archives. Students responded to the experience in their writing assignment, detailing elements of the political cartoons to discuss how the drawings, format, intended audience, and political climate shaped the messages that were conveyed. Panelists will include Heather Smedberg, a librarian in special collections who will discuss creative and effective ways for connecting students with original sources, CAT faculty and program staff who will discuss effective approaches to integrating original primary sources into the course curricula, and former students from the course who will share their analyses of the special collections artifacts and describe what they learned through this process.

In our increasingly digital world, hands-on encounters with original primary sources serve as tangible, sometimes even visceral, ties to the people and events connected with those sources. Holding an original drawing, diary, or letter, captures the interest and imagination more than a digital surrogate or reprint ever will. The texts themselves are artifacts. These artifacts become powerful tools for learning when integrated into the curriculum and aligned with a course or program's stated learning objectives, and serve as a creative and effective way of strengthening skills of observation, analysis, critical thinking, and historical empathy. This panel will discuss efforts to integrate the use of original hand-drawn WWII political cartoons from the Dr. Seuss Collection into UC San Diego's Sixth College First-Year writing program, Culture, Art & Technology (CAT), in a creative collaboration between a special collections librarian, Sixth College CAT staff, and CAT instructors. With guidance from special collections librarians, students in CAT 1 examined the original drawings by Theodor Geisel, popularly known as Dr. Seuss, alongside editions of the newspapers in which they were published, and followed up on this experience with a written assignment analyzing the cartoons. Curious and surprised by the overtly political leanings of this famous children's book author, students were drawn into the act of critical analysis of sources' historical and cultural contexts. The hands-on, student-centered experience successfully enabled students to tangibly connect with source materials and feel invested in what they were writing about. Program staff and instructors designed lectures, discussions, and readings around the theme of the archival documents in order to prepare and frame their visit to the archives. Students responded to the experience in their writing assignment, detailing elements of the political cartoons to discuss how the drawings, format, intended audience, and political climate shaped the messages that were conveyed. Panelists will include Heather Smedberg, a librarian in special collections who will discuss creative and effective ways for connecting students with original sources, CAT faculty and program staff who will discuss effective approaches to integrating original primary sources into the course curricula, and former students from the course who will share their analyses of the special collections artifacts and describe what they learned through this process.

In our increasingly digital world, hands-on encounters with original primary sources serve as tangible, sometimes even visceral, ties to the people and events connected with those sources. Holding an original drawing, diary, or letter, captures the interest and imagination more than a digital surrogate or reprint ever will. The texts themselves are artifacts. These artifacts become powerful tools for learning when integrated into the curriculum and aligned with a course or program's stated learning objectives, and serve as a creative and effective way of strengthening skills of observation, analysis, critical thinking, and historical empathy. This panel will discuss efforts to integrate the use of original hand-drawn WWII political cartoons from the Dr. Seuss Collection into UC San Diego's Sixth College First-Year writing program, Culture, Art & Technology (CAT), in a creative collaboration between a special collections librarian, Sixth College CAT staff, and CAT instructors. With guidance from special collections librarians, students in CAT 1 examined the original drawings by Theodor Geisel, popularly known as Dr. Seuss, alongside editions of the newspapers in which they were published, and followed up on this experience with a written assignment analyzing the cartoons. Curious and surprised by the overtly political leanings of this famous children's book author, students were drawn into the act of critical analysis of sources' historical and cultural contexts. The hands-on, student-centered experience successfully enabled students to tangibly connect with source materials and feel invested in what they were writing about. Program staff and instructors designed lectures, discussions, and readings around the theme of the archival documents in order to prepare and frame their visit to the archives. Students responded to the experience in their writing assignment, detailing elements of the political cartoons to discuss how the drawings, format, intended audience, and political climate shaped the messages that were conveyed. Panelists will include Heather Smedberg, a librarian in special collections who will discuss creative and effective ways for connecting students with original sources, CAT faculty and program staff who will discuss effective approaches to integrating original primary sources into the course curricula, and former students from the course who will share their analyses of the special collections artifacts and describe what they learned through this process.

In our increasingly digital world, hands-on encounters with original primary sources serve as tangible, sometimes even visceral, ties to the people and events connected with those sources. Holding an original drawing, diary, or letter, captures the interest and imagination more than a digital surrogate or reprint ever will. The texts themselves are artifacts. These artifacts become powerful tools for learning when integrated into the curriculum and aligned with a course or program's stated learning objectives, and serve as a creative and effective way of strengthening skills of observation, analysis, critical thinking, and historical empathy. This panel will discuss efforts to integrate the use of original hand-drawn WWII political cartoons from the Dr. Seuss Collection into UC San Diego's Sixth College First-Year writing program, Culture, Art & Technology (CAT), in a creative collaboration between a special collections librarian, Sixth College CAT staff, and CAT instructors. With guidance from special collections librarians, students in CAT 1 examined the original drawings by Theodor Geisel, popularly known as Dr. Seuss, alongside editions of the newspapers in which they were published, and followed up on this experience with a written assignment analyzing the cartoons. Curious and surprised by the overtly political leanings of this famous children's book author, students were drawn into the act of critical analysis of sources' historical and cultural contexts. The hands-on, student-centered experience successfully enabled students to tangibly connect with source materials and feel invested in what they were writing about. Program staff and instructors designed lectures, discussions, and readings around the theme of the archival documents in order to prepare and frame their visit to the archives. Students responded to the experience in their writing assignment, detailing elements of the political cartoons to discuss how the drawings, format, intended audience, and political climate shaped the messages that were conveyed. Panelists will include Heather Smedberg, a librarian in special collections who will discuss creative and effective ways for connecting students with original sources, CAT faculty and program staff who will discuss effective approaches to integrating original primary sources into the course curricula, and former students from the course who will share their analyses of the special collections artifacts and describe what they learned through this process.

In our increasingly digital world, hands-on encounters with original primary sources serve as tangible, sometimes even visceral, ties to the people and events connected with those sources. Holding an original drawing, diary, or letter, captures the interest and imagination more than a digital surrogate or reprint ever will. The texts themselves are artifacts. These artifacts become powerful tools for learning when integrated into the curriculum and aligned with a course or program's stated learning objectives, and serve as a creative and effective way of strengthening skills of observation, analysis, critical thinking, and historical empathy. This panel will discuss efforts to integrate the use of original hand-drawn WWII political cartoons from the Dr. Seuss Collection into UC San Diego's Sixth College First-Year writing program, Culture, Art & Technology (CAT), in a creative collaboration between a special collections librarian, Sixth College CAT staff, and CAT instructors. With guidance from special collections librarians, students in CAT 1 examined the original drawings by Theodor Geisel, popularly known as Dr. Seuss, alongside editions of the newspapers in which they were published, and followed up on this experience with a written assignment analyzing the cartoons. Curious and surprised by the overtly political leanings of this famous children's book author, students were drawn into the act of critical analysis of sources' historical and cultural contexts. The hands-on, student-centered experience successfully enabled students to tangibly connect with source materials and feel invested in what they were writing about. Program staff and instructors designed lectures, discussions, and readings around the theme of the archival documents in order to prepare and frame their visit to the archives. Students responded to the experience in their writing assignment, detailing elements of the political cartoons to discuss how the drawings, format, intended audience, and political climate shaped the messages that were conveyed. Panelists will include Heather Smedberg, a librarian in special collections who will discuss creative and effective ways for connecting students with original sources, CAT faculty and program staff who will discuss effective approaches to integrating original primary sources into the course curricula, and former students from the course who will share their analyses of the special collections artifacts and describe what they learned through this process.

Study Abroad Programs

This panel addresses partnerships between UC San Diego Student Affairs and faculty to create experiential service programs for undergraduate students. Extra-classroom service-learning experiences are a standard component of many academic disciplines, though not yet the norm for all, particularly those in the humanities. Such experiential opportunities are at the very essence of student affairs programming and also offer an exciting and emerging way to increase learning and to bridge the apparent gap between classroom and "real world." This session provides reflections on a variety of approaches for incorporating undergraduate service opportunities with academic study. We will examine the development and implementation of two programs. The first is called Break Away Global Service, or "BAGS," a one-week service program delivered over spring break which is part of a two-course, 4-credit sequence called Global Service and Research (GSR) taught in Winter and Spring Quarters. GSR/BAGS was developed through a partnership within UC San Diego's E. Roosevelt College between its Student Affairs and Academic Affairs units. The second is a five-week, 8-credit public health program in Amman, Jordan that serves Palestinian refugees, working with the UN Relief Works Agency. This program is led by Dr. Wael al-Delaimy, Assoc. Professor of Epidemiology and Chief of the Division of Global Health at the Department of Family and Preventive Medicine at the UC San Diego Medical School, in partnership with the Programs Abroad Office. This panel explores the value of such experiential work and addresses the impact on both academic and personal development for undergraduate students.

Since 1993, the UC San Diego Levantine Archaeology Laboratory has sponsored archaeological excavations and surveys in Israel and Jordan with an important undergraduate and graduate student component - an academic credit-based quarter-long educational experience. While interdisciplinary research has always characterized the work, the rich potential of this UCSD Middle East archaeological field school for interdisciplinary research emerged in 1998 when the project in Jordan went totally 'digital;' an effort that required the integration of computer scientists into the very fabric of the program. Since then, this field school/desert expedition has been at the forefront of developing a new transdisciplinary (team science) field - Cyber-Archaeology. This approach melds archaeology, computer science, engineering and the natural sciences into a unified whole. Students, both undergraduates and graduate students, have become the critical factor in the success of this program. This presentation presents an overview of the success and challenges of this new approach to interdisciplinary learning.

Ben Van Overmeire, Graduate TA/Lecturer in MMW and Ph.D. Candidate in Literature, UCSD, examines how a learning environment where professors, TAs, and students sat, ate, and walked together, often in silence, resulted in an opening towards one another, where the other could be seen and felt much clearer than within the confines of a university campus.

"Can You Hear the Bell?"

Hannah Youngwirth, Sophomore, Ecology Major in Biology program, ERC-UCSD, explains that the question posed in the title articulates the key lesson of the retreat: how being in the present helps us understand the past and welcome the future, overcome obstacles in daily life, and make scholastic life more vivid and engaging.

"Sleeping Under the Stars, Hiking in Silence"

In a presentation with photographs, Ellie Stern, Sophomore, International Studies major with a focus on political science, ERC-UCSD, shows how the retreat strengthened bonds with nature in an inspiring way that affected many aspects of life.

"Monasticism for Monks, You, and Me"

Daniel Rindner, Sophomore, Human Biology, ERC-UCSD, examines how the retreat enhanced interpersonal relations and shaped the way he now approaches and relates with other students, professors, and members of the community.

On April 26-28, 2013, students, faculty, and staff from UCSD and colleges and universities across California went to the Deer Park Monastery, a Zen Buddhist community nestled in the hills of Escondido, for a weekend meditation retreat, specifically designed for people in higher education in California. The monastery was established by the internationally-renowned teacher and author Thich Nhat Hanh as a meditation retreat for Buddhist practitioners and an eco-friendly, self-sustaining residential community for monks and nuns.

UCSD's Eleanor Roosevelt College (ERC) and International House (I-House) co-sponsored the visit for students in ERC's Making of the Modern World (MMW) program. The event met two main objectives for the MMW program: 1) providing students first-hand exposure to a major religious tradition they studied in their MMW courses, and 2) engaging in community service.

Edmond Chang, an Instructor in the MMW program, organized the trip, and Eberly Mareci, the assistant director of MMW, attended the retreat. Thirteen undergraduates and two graduate TAs from MMW attended for the entire weekend, and 45 ERC students joined them for the last day of the retreat, accompanied by Professor Chang. Professor Chang had led groups for day-long visits for the previous 5 years, but 2013 was the first year the school sponsored students to attend the full weekend retreat.

Why did they go? What did they learn? How has the retreat continued to impact what they do inside and outside the classroom, shaping their lives and their relations with other people and nature? How did the retreat relate to MMW's curriculum? What kind of follow-up is planned?

This proposed panel, with Chang and Mareci as co-chairs and co-respondents, will address these questions by letting graduate and undergraduate students speak for themselves about their experiences on the weekend retreat. In addition to the four papers and panelists listed in the form, we would also like to include two more student papers, as follows:

"Moments of Peace": Karlen Ulubabyan, Sophomore, Neuroscience and Physiology, ERC-UCSD, shows how the retreat gave him perspective on the cluttered and noisy environment of his daily life.

"Breathing, Buddhism and Life at the University": Joseph Allegretto, Sophomore, Literatures of the World , ERC-UCSD, explains that the teachings about the breath helped him to clear and focus his mind, allowing him to better handle the stress of the university, choosing a major, and finding his direction in life.

Keynote Presentation: Connected Learning

Mimi Ito, University of California, Irvine

Today’s learners are immersed in an abundance of information, media and ubiquitous social connection. Despite unprecedented access to educational resources and expertise, our research found only a small minority of young learners leveraging new media to further academic and career relevant learning or their civic engagement. How can we best guide, mentor, and teach young people in this era of abundant knowledge and connectivity? Can new media build stronger connections between in school and out of school learning? And how can we do this in a way that supports the interests and identities of all learners? Connected learning offers a model for how to leverage new technology in ways that serve progressive learning goals, linking young people’s academic, social, and recreational lives.

1:15-2:30

Session C

C1 :: Comunidad Room

Sixth College interdisciplinary Practica and Curatorial initiative

One of the many challenges for college writing programs is in developing successful upper division courses -- specifically in working with undergraduates on thesis work and professional writing. With students' attention divided between rhetorical demands of personal statements, final papers, portfolios, and practicums, how can writing instructors attend to the many unique needs of upper division within a structured classroom environment?

As one of the six writing programs at UCSD, the CAT program continues to seek unique solutions to the issues that face students as they near graduation. One of the program's newest experiments is a pair of high-impact courses, which themselves pair the traditional practicum with a senior level writing class. Designed and instructed by teaching assistants under the guidance of a mentoring professor, these combination courses work to help students find throughlines across their academic and professional writing by linking a network of traditional undergraduate writing assignments within each course theme.

CAT teaching assistants Keith McCleary and Kiik Araki-Kawaguchi will explain the thinking and practices involved in their respective courses, ComiCraft and Divine Comedy-ality-ness. Using the graphic novel as a starting point, McCleary's course works in developing links between textual, visual and digital media, and guides each student in the creation of their own media to construct a public persona. Araki-Kawaguchi uses the format of the standup comedy routine to discuss the ways that each student's individual persona interacts within a larger sociopolitical environment, similarly helping students to create a persona that can be shaped to each student's professional needs. Using these unconventional models as their starting points, Keith and Kiik will address the successes, failures and findings of their pedagogies in a presentation moderated by Professor K. Wayne Yang.

This year ARTifact Gallery will transform itself into a teaching gallery where undergraduates will curate workshops, events, and shows around concepts and themes that they will propose. This is an experiment in Experiential Learning. As ARTifact gallery transitions to an more experiential form we will consider the following questions: What is the relationship between curation and power? What is the relationship of curation to writing and literacy? What is the process by which the community changes our public spaces? How does this enhance the way we live and act in our spaces? How can we use the space as a teaching tool for ourselves? For others? What would happen if all of us treated our schools as galleries to be co-curated by students and teachers? How might we transform the way we think about learning? What are the challenges of experimental arts pedagogies within the academy? What are the challenges presented by the attempt to rhetorically construct collective agency within an institutional space?

The Experiments will culminate as a publication and assess the success and challenges of attempting such an experimental art pedagogical practice and the creation of a teaching gallery within an academic institutional setting.

The panelists will include Undergraduate Students on the initiative and possibly curator Michelle Huynh.

Integrating the Arts to Drive Innovation in STEM

With funding from NSF, the Art of Science Learning (AoSL) began phase 2 in October 2012 to create, implement, and test new models and tools to promote innovation in STEM learning and practice. Through implementation, evaluation, and research on an arts-based innovation curriculum, AoSL explores the conjecture that active engagement with the arts results in greater creativity, increased collaboration, and superior innovation outputs.

The Vision for AoSL

Drawing on his experience as a musician, artist, and executive director of the conductor-less Orpheus Chamber Orchestra, Principal Investigator Harvey Seifter developed models of distributed leadership, criterion-based decision-making, and the arts as a means to practice skills of creativity, communication, and collaboration. AoSL integrates business-oriented leadership and innovation in a new community-based model and arts-based curriculum, deployed in three Incubators for Innovation, in San Diego, Chicago, and Worcester, MA.

Experiential Learning

The arts-based innovation model gets activated in a series of experiential workshops in each of three incubators. Cycles of divergent and convergent thinking include opportunity identification and analysis, generating ideas for solutions, with iteration, refinement, and selection. Subsequent stages involve development, design, testing, market and business planning, then innovation launch. During the process, learners form teams to execute projects.

Engaging the Community

The Balboa Park Cultural Partnership hosts the San Diego Incubator for Innovation, engaging people and resources from both sides of the international border, engaging arts and culture, industry, academia, public sector, formal and informal education. Nan Renner, San Diego Incubator director, and Deborah Forster, leader of local faculty, engaged in a grassroots outreach effort to build a learning community diverse in age, life experience, and expertise. A clear value proposition-to cultivate skills of creativity, innovation, and entrepreneurship; connect with a network of action-oriented problem solvers; and innovate solutions to our crowd-sourced challenge of regional water supply and demand-attracted committed learners to a year-long tuition-free fellowship.

Reflection and Organizational Learning

The project design includes evaluation and research with a controlled experiment comparing arts-based and traditional innovation programs. Unique to the San Diego Incubator, additional reflective layers were added. Michael Lindsay and a team from the University of San Diego Leadership Institute observe workshops and offer actionable feedback focused on immediate implementation. David Kirsh, UCSD cognitive scientist, seeks to describe how people get coordinated in creative processes, the consequences of particular activities, and how visual and performing arts constrain and afford representation of ideas.

With funding from NSF, the Art of Science Learning (AoSL) began phase 2 in October 2012 to create, implement, and test new models and tools to promote innovation in STEM learning and practice. Through implementation, evaluation, and research on an arts-based innovation curriculum, AoSL explores the conjecture that active engagement with the arts results in greater creativity, increased collaboration, and superior innovation outputs.

The Vision for AoSL

Drawing on his experience as a musician, artist, and executive director of the conductor-less Orpheus Chamber Orchestra, Principal Investigator Harvey Seifter developed models of distributed leadership, criterion-based decision-making, and the arts as a means to practice skills of creativity, communication, and collaboration. AoSL integrates business-oriented leadership and innovation in a new community-based model and arts-based curriculum, deployed in three Incubators for Innovation, in San Diego, Chicago, and Worcester, MA.

Experiential Learning

The arts-based innovation model gets activated in a series of experiential workshops in each of three incubators. Cycles of divergent and convergent thinking include opportunity identification and analysis, generating ideas for solutions, with iteration, refinement, and selection. Subsequent stages involve development, design, testing, market and business planning, then innovation launch. During the process, learners form teams to execute projects.

Engaging the Community

The Balboa Park Cultural Partnership hosts the San Diego Incubator for Innovation, engaging people and resources from both sides of the international border, engaging arts and culture, industry, academia, public sector, formal and informal education. Nan Renner, San Diego Incubator director, and Deborah Forster, leader of local faculty, engaged in a grassroots outreach effort to build a learning community diverse in age, life experience, and expertise. A clear value proposition-to cultivate skills of creativity, innovation, and entrepreneurship; connect with a network of action-oriented problem solvers; and innovate solutions to our crowd-sourced challenge of regional water supply and demand-attracted committed learners to a year-long tuition-free fellowship.

Reflection and Organizational Learning

The project design includes evaluation and research with a controlled experiment comparing arts-based and traditional innovation programs. Unique to the San Diego Incubator, additional reflective layers were added. Michael Lindsay and a team from the University of San Diego Leadership Institute observe workshops and offer actionable feedback focused on immediate implementation. David Kirsh, UCSD cognitive scientist, seeks to describe how people get coordinated in creative processes, the consequences of particular activities, and how visual and performing arts constrain and afford representation of ideas.

With funding from NSF, the Art of Science Learning (AoSL) began phase 2 in October 2012 to create, implement, and test new models and tools to promote innovation in STEM learning and practice. Through implementation, evaluation, and research on an arts-based innovation curriculum, AoSL explores the conjecture that active engagement with the arts results in greater creativity, increased collaboration, and superior innovation outputs.

The Vision for AoSL

Drawing on his experience as a musician, artist, and executive director of the conductor-less Orpheus Chamber Orchestra, Principal Investigator Harvey Seifter developed models of distributed leadership, criterion-based decision-making, and the arts as a means to practice skills of creativity, communication, and collaboration. AoSL integrates business-oriented leadership and innovation in a new community-based model and arts-based curriculum, deployed in three Incubators for Innovation, in San Diego, Chicago, and Worcester, MA.

Experiential Learning

The arts-based innovation model gets activated in a series of experiential workshops in each of three incubators. Cycles of divergent and convergent thinking include opportunity identification and analysis, generating ideas for solutions, with iteration, refinement, and selection. Subsequent stages involve development, design, testing, market and business planning, then innovation launch. During the process, learners form teams to execute projects.

Engaging the Community

The Balboa Park Cultural Partnership hosts the San Diego Incubator for Innovation, engaging people and resources from both sides of the international border, engaging arts and culture, industry, academia, public sector, formal and informal education. Nan Renner, San Diego Incubator director, and Deborah Forster, leader of local faculty, engaged in a grassroots outreach effort to build a learning community diverse in age, life experience, and expertise. A clear value proposition-to cultivate skills of creativity, innovation, and entrepreneurship; connect with a network of action-oriented problem solvers; and innovate solutions to our crowd-sourced challenge of regional water supply and demand-attracted committed learners to a year-long tuition-free fellowship.

Reflection and Organizational Learning

The project design includes evaluation and research with a controlled experiment comparing arts-based and traditional innovation programs. Unique to the San Diego Incubator, additional reflective layers were added. Michael Lindsay and a team from the University of San Diego Leadership Institute observe workshops and offer actionable feedback focused on immediate implementation. David Kirsh, UCSD cognitive scientist, seeks to describe how people get coordinated in creative processes, the consequences of particular activities, and how visual and performing arts constrain and afford representation of ideas.

With funding from NSF, the Art of Science Learning (AoSL) began phase 2 in October 2012 to create, implement, and test new models and tools to promote innovation in STEM learning and practice. Through implementation, evaluation, and research on an arts-based innovation curriculum, AoSL explores the conjecture that active engagement with the arts results in greater creativity, increased collaboration, and superior innovation outputs.

The Vision for AoSL

Drawing on his experience as a musician, artist, and executive director of the conductor-less Orpheus Chamber Orchestra, Principal Investigator Harvey Seifter developed models of distributed leadership, criterion-based decision-making, and the arts as a means to practice skills of creativity, communication, and collaboration. AoSL integrates business-oriented leadership and innovation in a new community-based model and arts-based curriculum, deployed in three Incubators for Innovation, in San Diego, Chicago, and Worcester, MA.

Experiential Learning

The arts-based innovation model gets activated in a series of experiential workshops in each of three incubators. Cycles of divergent and convergent thinking include opportunity identification and analysis, generating ideas for solutions, with iteration, refinement, and selection. Subsequent stages involve development, design, testing, market and business planning, then innovation launch. During the process, learners form teams to execute projects.

Engaging the Community

The Balboa Park Cultural Partnership hosts the San Diego Incubator for Innovation, engaging people and resources from both sides of the international border, engaging arts and culture, industry, academia, public sector, formal and informal education. Nan Renner, San Diego Incubator director, and Deborah Forster, leader of local faculty, engaged in a grassroots outreach effort to build a learning community diverse in age, life experience, and expertise. A clear value proposition-to cultivate skills of creativity, innovation, and entrepreneurship; connect with a network of action-oriented problem solvers; and innovate solutions to our crowd-sourced challenge of regional water supply and demand-attracted committed learners to a year-long tuition-free fellowship.

Reflection and Organizational Learning

The project design includes evaluation and research with a controlled experiment comparing arts-based and traditional innovation programs. Unique to the San Diego Incubator, additional reflective layers were added. Michael Lindsay and a team from the University of San Diego Leadership Institute observe workshops and offer actionable feedback focused on immediate implementation. David Kirsh, UCSD cognitive scientist, seeks to describe how people get coordinated in creative processes, the consequences of particular activities, and how visual and performing arts constrain and afford representation of ideas.

With funding from NSF, the Art of Science Learning (AoSL) began phase 2 in October 2012 to create, implement, and test new models and tools to promote innovation in STEM learning and practice. Through implementation, evaluation, and research on an arts-based innovation curriculum, AoSL explores the conjecture that active engagement with the arts results in greater creativity, increased collaboration, and superior innovation outputs.

The Vision for AoSL

Drawing on his experience as a musician, artist, and executive director of the conductor-less Orpheus Chamber Orchestra, Principal Investigator Harvey Seifter developed models of distributed leadership, criterion-based decision-making, and the arts as a means to practice skills of creativity, communication, and collaboration. AoSL integrates business-oriented leadership and innovation in a new community-based model and arts-based curriculum, deployed in three Incubators for Innovation, in San Diego, Chicago, and Worcester, MA.

Experiential Learning

The arts-based innovation model gets activated in a series of experiential workshops in each of three incubators. Cycles of divergent and convergent thinking include opportunity identification and analysis, generating ideas for solutions, with iteration, refinement, and selection. Subsequent stages involve development, design, testing, market and business planning, then innovation launch. During the process, learners form teams to execute projects.

Engaging the Community

The Balboa Park Cultural Partnership hosts the San Diego Incubator for Innovation, engaging people and resources from both sides of the international border, engaging arts and culture, industry, academia, public sector, formal and informal education. Nan Renner, San Diego Incubator director, and Deborah Forster, leader of local faculty, engaged in a grassroots outreach effort to build a learning community diverse in age, life experience, and expertise. A clear value proposition-to cultivate skills of creativity, innovation, and entrepreneurship; connect with a network of action-oriented problem solvers; and innovate solutions to our crowd-sourced challenge of regional water supply and demand-attracted committed learners to a year-long tuition-free fellowship.

Reflection and Organizational Learning

The project design includes evaluation and research with a controlled experiment comparing arts-based and traditional innovation programs. Unique to the San Diego Incubator, additional reflective layers were added. Michael Lindsay and a team from the University of San Diego Leadership Institute observe workshops and offer actionable feedback focused on immediate implementation. David Kirsh, UCSD cognitive scientist, seeks to describe how people get coordinated in creative processes, the consequences of particular activities, and how visual and performing arts constrain and afford representation of ideas.

Community-based research and learning at UC San Diego and UC Irvine

This panel has a twofold objective: (1) outline the progress made "flipping" a field research practicum in Urban Studies and Planning, and (2) more broadly, share lessons learned from forward-looking theoretical and applied perspectives. In a flipped class, course content that is ordinarily delivered through lecture is instead posted online in videos and learning modules. The intent is to free up class time for more engaged types of experiential learning including peer-to-peer interaction. The flipped course referred to in this panel concentrated on building critical thinking skills (including theory building capability), and on ethics and methods needed for scholarship of engagement. The main methods include participation in community settings, direct observation, in-depth interviewing, and participatory mapping and community visualization. The course brought on board a "community scholar" to help refine curriculum around key concepts including "community knowledge", "authentic demand", "community-based participatory action research", "appreciative inquiry". The course stresses the benefits of using mixed method designs that take advantage of both flexible (qualitative) methods and fixed (quantitative) methods. The flipped field research practicum noted here is part of a broader effort underway in Urban Studies and Planning to pool resources among faculty with an interest in doing civically engaged research. The panelists will discuss this as well. The collective effort includes four groups of contributors with distinct types of mutually reinforcing expertise: First, urban planning and design, plus bioregional theory and practice. Second, spatial analytics, mapping and visualization. Third, community-based research methods, social change theory, evaluation, participatory processes, and ethics of community-university engagement—especially in communities that have been historically disadvantaged. Fourth, a discussion of the community's experience with university research. What would it look like if the community were asking the questions? Do authentic bi-directional relationships exist, and, if so, what do they look like?

This paper analyzes the first in a 3-quarter series internship in Civic and Community Engagement (CCE) at UCI. The entire series is centered around actualizing both the process and the goal of social justice. This was done in order to deepen students' basic understanding of the concept of social justice while also building their capacity to intentionally develop socially just programming that also produces just outcomes. Additional goals of the course include grounding students in civic education theory and community based action research while also creating opportunities for them to practice civic habits through civic and community engagement (CCE). All three modules in the series rely on both classroom based and experiential learning as a means for educating students about the theory and practice underlying CCE. As a means of integrating academic learning with hands-on experience, all students engage in two forms of service learning:

Students receive in-class training which prepares them to lead a "Day of Service" project in the Orange County area. These projects are organized in partnership with a local CBO.

Students also develop their own CCE projects. During the Fall quarter, they began by identifying a social issue of interest, conducting research, and drafting a project proposal. In the Winter, they implement a pilot version of their project, and they move to full project implementation in the Spring quarter.

As we have only completed the first module of the program, this paper will focus most explicitly on first quarter outcomes and lessons learned, but I will also provide a comprehensive context for the program in its entirety. Specifically, I will focus on the following questions:

Service Learning for Social Justice: Regarding the explicit orientation of service learning for social justice, how does this represent a high impact practice and why is it important? What is the social and political context in which this program was created and what larger issues is it meant to address?

Goals & Learning Outcomes: What are the goals and learning outcomes for the course and how are they aligned with classroom assignments, dialogues, experiences, etc.?

Outcomes: What are the early outcomes from the course? How effective was the Fall quarter course in achieving our goals and learning outcomes?

Lessons Learned: What are the preliminary lessons learned from the experience of creating and implementing this course in the university context and in partnership with a CBO in Orange County, CA?

UCSD PRIME (Program in Medical Education-Health Equity) program and Public Health Practica

The Program in Medical Education-Heath Equity (PRIME-HEq) is a 5-year dual degree(MD/Master’s) program that combines medical school training focused on issues of health disparities in underrepresented populations with post-graduate work in environmental health, science and policy. UC San Diego School of Medicine first launched PRIME-HEq in the fall of 2007. The goals of PRIME-HEq are to: 1. Prepare physicians to provide healthcare services to underserved and at risk populations 2. Increase the number of clinicians, research scientists and advocates addressing minority health and health disparities 3. Create a diverse community of scholars that develop, disseminate, and apply new knowledge in minority health and health disparities 4. Promote a multidisciplinary community/university partnership to eliminate health disparities and increase health equity. During this session, we will provide an overview of UC San Diego PRIME-HEq, and describe our various community partnerships and engagement activities. This will be followed by a panel discussion comprised of administrators and students from PRIME-HEq. They will each share their experiences as members of the PRIME-HEq community.

Refugee resettlement represents one of the most complex forms of human movement and demands the coordination of a broad range of humanitarian, health, and sociopolitical forces. The flight and resettlement processes have significant implications for health and quality of life of individuals who have been forcibly displaced. Each year the U.S. resettlement program must change to accommodate the communities experiencing the most pressing human rights concerns as recommended by the United Nations High Commissioner for Refugees. This constant fluctuation and reactive nature of resettlement places significant challenges upon the agencies providing resettlement services, including the cultural, linguistic, and financial resources needed to accommodate the radically shifting demographic profiles of newly arriving refugee communities. In January 2014 we are initiating a Sixth college practicum course to bridge students interested in public health and human rights with local resettlement agencies. The goal of this practicum is to support the unmet health needs of newly arriving refugee cohorts. The course was developed in collaboration with a local resettlement agency and guest lecturers from the resettlement and refugee communities will provide consistent and ongoing feedback to students on the needs and utility of the programs and resources being developed during the course. Students in the course will learn about conducting public health needs assessments, processes for culturally adapting health education resources, and working in small groups to develop and evaluate public health interventions. All projects will culminate with the dissemination of their intervention through established channels within San Diego and U.S. refugee health networks, as appropriate. This practicum provides an exemplar of addressing some of the most pressing public health needs among refugee communities in San Diego while providing specialized training and experiential opportunities for globally minded UC San Diego students.

Experiential Learning in Eleanor Roosevelt College programs

This panel explores UC San Diego courses in the humanities and sciences that integrate academic content with excursions into the California wilderness. The panel will examine four UC San Diego undergraduate courses: three 1-credit freshman seminars and one 6-credit geology course. Two of the seminars have religious themes: "God, Satan, and the Desert," which incorporates a two-day experience in Anza-Borrego Desert State Park, and "Sacred Mountain" with its two-day excursion at Mt. San Jacinto State Park. The third seminar is a creative writing course called "Wild Writing" which includes a weekend trip to Joshua Tree National Park. The physical geology course includes a weekend trip to the Mojave Desert aimed at augmenting student understanding of basic geologic concepts. The seminars are delivered through a partnership between UC San Diego faculty and Outback Adventures (An Outdoor Education Program in UC San Diego's Student Affairs). We will contrast this faculty-Student Affairs partnership with the experiential geology course which is taught and organized solely by the Scripps Institution of Oceanography. This panel will examine the genesis of these interactive courses, the logistics and administrative challenges involved, the pedagogical and personal benefits of experiential learning, and the merits of such academic and student affairs partnerships. In particular, we will consider how the experiential component augments academic understanding and even stimulates greater interest in the subject matter. Academic programs with wilderness themes and content are best served by moving beyond the traditional classroom.

This paper examines the usage of digital media projects in college and pre-college writing classrooms. Digital projects in writing classrooms offer experiential learning, as it asks students to translate their learning and subject matter into mediums with more widespread and immediate use. This paper will investigate the creative momentum that digital media projects offer, as well as the technical and institutional challenges students face in their execution. More and more college writing programs and humanities courses have embraced alternative digital media based final projects, rather than the traditional final research paper. However, even as the assignments shift and become more innovative, access to technical knowledge and curriculum has remained stagnant for most students coming out of public secondary schools. This paper will explore the dynamic between technical (or digital) and academic knowledge, to configure best practice possibilities in navigating the divisions inside the writing classroom. Inserting my experiences as a teaching assistant at Culture, Art and Technology at the University of California, San Diego and as an arts educator at Young Audiences and Urban Gateways, I will look to student narratives concerning their technical/critical/creative skills and this relationship to digital access. Key questions will be: What are the differences between artistic and technical knowledge? Does digital based final projects become a way for students to explore their subject matter in a different medium, or merely highlight education and knowledge disparities? What separates the education of understanding and envisioning a media project from being able to “create” it? How can digital assignments be constructed so that more students may participate? Previous student videos, blogs and media projects will be examined to understand how digital materiality intersects with questions of access and pedagogy in the college writing classroom.

As an educator, I am learning not only new techniques for aesthetic production, but also how effectively to teach students about the interwoven aesthetic & technical aspects of such production, from ideation to execution. Every art-student is essentially learning "in-the-field" of her practice, experimenting with formal and conceptual techniques and receiving critical feedback about the relative success or failure of these experiments from faculty and classmates. As someone who still valorizes the notion of the avant-garde, I have found myself in a steady-state of learning how to use and understand bleeding-edge technologies & tools (followed naturally by a commensurate steady-state of frustration). Display modalities like the NexCAVE and the VROOM display at the Qualcomm Institute offer a rich opportunity to imagine and play, with the only limitation being the learning-curve (and funding support) to grapple with the production tools designed to generate images in immersive stereoscopy or ultra-high resolution visualization. Toward this end, I conceptualized the Socially Engaged Speculative Media Initiative at the Qualcomm Institute as an opportunity for Undergraduate research in the arts wherein they can test their processes, ideas, and techniques as an outgrowth of both their curricular work and creative drive.

The inaugural project of SESMI is a multi-media suite of works made for presentation at Qualcomm Institute's bleeding-edge visualization systems. The project, called Tell Them Everything / Remember Us (T2ERU), revolves around the central theme of "memory" as a critical resource to be better understood in the distant future. In 2013, eight students have participated in the ideation and production of media-work to be presented as part of T2ERU.

I use diagramming and visual mapping techniques in architecture education and cognitive science, in order to introduce complex systems thinking material. To situate and immerse students in their own experience I expose them to mindful movement practices, such as Feldenkrais Awareness Through Movement lessons, insist on hand drawing, and require triplet variations of diagramming assignments. Once a self-attentive sensibility about contextual inquiry is established, shifting attention outward is done without the typical neglect of self that often accompanies formal education pedagogy. Oddly, conceptual mapping of a variety of domains at this stage is richer, and students 'bring' more of their own self to the material at hand. I will show student work a variety of courses - an interdisciplinary seminar on Relational Systems Thinking with architecture students; Mapping Knowledge Ecologies - independent group study with cognitive science students, and Contextual Inquiry - a research methods course developed for masters in landscape architecture. In each case I will show the development of a conceptual trajectory that allows students to transfer that skill set to other domains.

Massive Open Online Courses (MOOCs) have recently gained a lot of attention. Being open for enrollment to anyone with a computer and internet connection, these easily accessible courses have the potential to bridge educational gaps. However, high attrition and low completion rates suggest that these MOOCs currently cater to the needs of only a few students. It remains unclear how students are benefitting from enrollment in MOOCs and what types of students persist in these online courses. By developing a better understanding of how students participate in MOOCs, instructors of these open courses could have a better idea of how to improve the educational experience of the wide array of enrolled students.

This study examines student participation and drop-off trends in a three-unit Preparatory Biology MOOC. It identifies relationships between learning progress and student involvement over the four-week course, comparing specifically students who complete the MOOC and students who leave at certain points during the MOOC. Quiz completion and peer assessment contribution are the main predictors included in the data analysis. Forum participation is also included as a measure of student involvement. This study includes both an overall look at participation trends throughout the course and also a focus on the first unit. Peer assessment accuracy, as determined by student's awarding grade and the peer's final score, serves as a measure of participation quality. Participation patterns in the first unit, after which a disproportionate number of students drop off, is used to predict student persistence and course completion. This study finds characteristics of student participation that indicate higher likelihood of persisting to the end of the course.

Global TIES - Teams In Engineering Service (Global TIES) is an innovative humanitarian engineering program at the University of California, San Diego. The program offers undergraduate students of all majors the opportunity to collaborate in student-directed, faculty-advised teams that design engineering and technology solutions that matter for local and global nonprofit organizations. Global TIES is one of three programs to earn UC San Diego a place on the President Obama's Higher Education Community Service Honor Roll for four consecutive years (http://www.nationalservice.gov/about/initiatives/). It has also been recognized by the Clinton Global Initiative University. Founded in 2004 as TIES with support from the National Science Foundation and initially modeled after the award-winning Engineering Projects in Community Service program (EPICS) at Purdue University, the program has designed solutions for organizations such as Habitat for Humanity, United Cerebral Palsy, National Federation for the Blind, and the UC San Diego Student-Run Free Clinic. In 2009-2010, recognizing the need for today’s students to have a global education, the program expanded its mission to include partnerships with non-governmental organizations operating in developing countries. The program currently has projects with Casa de Paz in Mexico, the Loloma Foundation in Fiji, Burundi Friends International in Burundi, and Gawad Kalinga in the Philippines. In the summer of 2013, as part of the program, seven students traveled to Bulacan Province in the Philippines, armed with a solar panel, mosquito netting, and Pepto Bismol. They left behind a working solar-powered streetlamp. But it is what they brought home with them that has really changed their lives. Students from this trip and other projects will share their experiences.

UCSD Writing Center

: As those of us who work in writing centers recognize, the writing center experience can have as beneficial an effect for the undergraduates who work as peer tutors as for the student writers who come seeking assistance. Studies such as the Peer Writing Tutor Alumni Research Project have documented the ways in which working in a writing center has supplemented, enriched, or otherwise changed the educations and life paths of hundreds of peer tutors (Hughes, Gillespie, and Kail, 2010). This is not surprising when we consider the high-impact learning practices that are characteristic of the day-to-day experiences of writing center tutors. Collaborative projects, undergraduate research, diverse/global learning communities, and the application and reflection that are at the heart of service learning all play an important part in writing center work.

In our panel, we will describe these high-impact practices and discuss the ways they have enhanced our own learning trajectories. Adena will introduce the panel by providing an overview of the writing center experience at UC San Diego and the ways that it impacts the peer writing mentors themselves. Nichole will discuss a particular collaborative writing project that she was engaged in last spring - amending and updating the training manual for this year's new tutors - and will explore what she herself gained from this process. Sarah will describe a field research project she is currently undertaking, which involves conducting in-depth interviews with writing center clients. Jesse will speak about his work with international students, and the ways in which being a part of a diverse and global educational community has affected his own learning. Kelly and Elena will offer a joint presentation on writing center work as service learning; they will explain how it embodies the practical application of pedagogical theories, and will also discuss how the written reflections that they have been producing have helped them to understand the implications of their practice. We will invite the audience to share their own similar experiences, and to consider how the educational benefits we are gaining from high-impact practices in the writing center could occur in other contexts.

STEM/STEAM-based research and learning

This presentation considers Elsewhere--an experimental arts non-profit in NC--as a case study for designing collaborative community-based learning systems. Elsewhere is a living museum, residency program, and education laboratory set in a former thrift store housing a massive inventory of surplus, thrift, and antiques collected by one woman over 58-years. In 2003, her grandson and I re-opened the store as a museum and creative laboratory, declaring nothing for sale, and founding an experimental collaborative community. Elsewhere is now an interactive museum hosting 10,000 visitors p/yr, an international residency program hosting 50+ artists, scholars, and creatives p/yr from across the world, and an education laboratory hosting day and week-long retreats, tours, live-in and local internships, and afterschool programs. Elsewhere works with community leaders, developers, neighbors, citizens, and groups to create projects that explore alternative social formations, vitalize our downtown neighborhood, and inspire global cultural connectivity through accessible cultural productions. This presentation articulates some of the principles and systems at work at Elsewhere which can be applied to institutional settings and collaborative projects on all levels. Strategies discussed will be 1) the use of formal and informal structures 2) a co-learning opportunities, clear leadership and goals, and generational mentorship opportunities 3) grassroots learning platforms 4) the role of everyday media and social networking tools 5) the inclusion of multiple knowledge forms and methods 6) a process of reflective re-calibration to accommodate individual and group evolution 7) the prioritizing of an experimental process. The presentation offers examples of academic and artistic collaborations Elsewhere has performed with universities such as the New School, UNCG’s New World program, Appalachian State, UNM, UMichigan and other community and civic organizations. Through these examples, we consider structural and positional strategies for initiating and evolving creative, genuinely collaborative community learning relationships http://goelsewhere.orghttp://stephaniesherman.net

Within the field of art education there has been a substantial amount of research on the relationship between the arts and cognitive development. More specifically, research demonstrates that arts education is inherently experiential and has an impact in developing critical thinking skills (Burton, Horowitz, & Abeles, 2000; Catterall 2002; Lampert, 2006; Hetland 2013). Complementing the work of arts researchers and educators, cognitive psychologists and neuroscientists have also become supporters of embracing the arts to improve learning. Discoveries regarding mirror-neuron cells are providing a complementary scientific narrative that connects the arts with critical thinking in addition to a host of other cognitive and emotional competencies (Blatt-Gross, 2010). One of the emerging ways to integrate the arts with other academic disciplines is the inclusion of the arts with the Science, Technology, Engineering, and Math (STEM) movement, renaming it STEAM.

Using the literature supporting the cognitive benefits of arts integration and the momentum of the STEAM movement, this qualitative inquiry reflects the practices of interdisciplinary university programs. More specifically, this study aims to present the experiences of individuals that have pioneered programs that integrate the arts with STEM and examine student learning within these programs. Bolman and Deal's four frames of organizational development and sociocultural theory will be utilized to provide theoretical frameworks for the role of leadership and the development of learning goals within the selected programs. Using a collective case study methodology, extant data, questionnaire responses, and interview responses will be cross-examined to paint a picture of two university programs that integrate the arts with STEM.

How can campuses and communities interlock to create new models for mutually beneficial artmaking and art teaching? This paper surveys two projects wherein university students enter community centers in underserved parts of San Diego to undertake innovative hybrid research/outreach in music teaching. The first, the Universal Language Orchestra, brought Sixth College Practicum students into contact with Spring Valley-area children, where, side by side, they produced new musical instruments, scores and performances between 2012 and 2013. The second project, a collaboration between National City's A Reason to Survive (ARTS) and SDSU's Community Engagement for Sustainable Cities initiative, is now just getting underway. How can (and how should) the competing imperatives bundled together here as "outreach" (including but not limited to undergraduate skill-building, scholarly research, meeting community needs) be defined, sorted and prioritized? What is the highest impact we can achieve in short term (i.e. semester/quarter-length) engagements, and how can we turn these into longer-term partnerships?

Music improvisation frequently stands as a metaphor for modes of interaction and negotiation that occur in experiential learning environments. Participants work collectively to define the constraints and challenges of a problem space, testing out a variety of solutions in-the-moment. However, such characterizations of music improvisation may idealize this particular mode of performance interaction. Musicians themselves often have difficulty describing their choices and processes, leading some musicians to argue that improvisation cannot be taught, but instead developed through repeated attempts. Perhaps even more problematically, few studies consider failures and missteps in musical improvisation relative to experiential learning. Analyzing the work and progress of an improvisation ensemble class at UCSD, this project documents how a group of skilled musicians learns through the practice of real-time creative performance. I suggest that by observing the pedagogy of musical improvisation, we may better understand the negotiation of a shared vocabulary and the resolution of failed attempts that occur in "real world" environments.

This project utilizes theories and methodologies from musicology, education, and cognitive science. Class meetings were recorded and analyzed as a mode of cognitive ethnography. Examining these videos, I critically engage Donald Schön's concepts of "reflection-in-action" and "reflection-on-action," which are primarily concerned with the nature of temporally situated action in light of unexpected or open-ended situations. Seen through this analytical lens, the improvisation ensemble framed issues of interaction as problems to be solved during the course of performance. Members of the ensemble also reviewed videotaped rehearsal footage to further identify successful and unsuccessful moments in their classroom performances. From these reflections during and after performance, the ensemble derives performance strategies and parameters utilized throughout the duration of the class.

This paper will discuss the evolution of the two-year old Center of Interdisciplinary Science for Art, Architecture, and Archaeology’s (CISA3’s ) Undergraduate Research Innovation Internship (the CURII) and its goals to provide undergraduate research opportunities in inventive, personally geared interdisciplinary collaborative settings. CISA3 works on developing and adapting new technologies for deployment in cultural heritage settings for preservation analysis of famous international monuments, archaeological sites, and on historical artifacts. This area of research, known as cultural heritage diagnostics, is one of the most cutting edge Science Technology Engineering Arts and Mathematics (STEAM) interfaces for mingling STEM education concepts and contact between academia, industry, and government. It provides an ideal place to introduce novel ways of encouraging undergraduate research and development growth that is intended to expand into opportunities beyond traditional undergraduate university spheres of engagement. This paper will discuss the formation of the CURII, its mission statement, and its working process -which pushes the boundaries of traditional educational internships to encourage novel new forms of personalized independent research as part of interdisciplinary teams of undergraduate and graduate students working on student-created and driven projects which are then deployed by the students at cultural heritage sites around the world. It will also discuss some of the working examples of undergraduate research experience with the CURII which has trained an ever-increasing group of exceptional undergraduates to actively participate in the engineering of new analytical tools and ways in which the internship is constantly evolving based on the feedback and leadership of the undergraduate participants themselves.

Experiential Learning in the Visual Arts

Since the fall of 2012 The Experimental Drawing Studio at UCSD has been host to "Am I Drawing now?" a series of lectures, conversations, performances and exhibitions that seek to illuminate drawing as a cross disciplinary activity. Participants are invited to make a brief presentation of their work and research, followed by a period of active discussion with the audience. Inaugural events included: "Meditations on Diagramming as a Form of Drawing" by Jordan Crandall, Professor and Chair of Visual Arts UCSD; "Ubiquitous Sketch" by Dr. Nadir Weibel, Assistant Research Scientist and Lecturer, UCSD Department of Cognitive Science; "What We Do is Secrete: Paul Virilio, Planetarity and Data Visualization" by Benjamin Bratton, Professor of Visual Arts UCSD; "Drawing Emotion," with Christine Harris, Professor of Psychology UCSD; "Drawing Blanks" with Lesley Stern, Professor of Visual Arts UCSD and Allison Spence, Vis Arts graduate student; "Drawing Ecology: Gestures, Dia grams and Itineraries of Urbanization" with Teddy Cruz, Professor of Visual Arts UCSD; "Incendiary Traces" with Visiting Artist Hillary Mushkin; "Some Tales About That Elusive Thing Called Line" by Jack Greenstein, Professor of Art History UCSD; "To Point (To), To Draw (From), To Look (At) by Visiting Artist Karl Haendel; "Ghost Plaques," with San Diego County Park Ranger Kim Duclo in conversation with Visual Arts Graduate Student Kate Clark and "CyberSpaceLand" a performance by Amy Alexander, Professor of Visual Arts UCSD.

Experimental Drawing Studio is lead by Visual Arts Associate Professor Amy Adler with graduate students Josh Tonies, Allison Spence, Nichole Speciale, Emily Grenader, and Kara Joslyn, as well as several undergraduates students. The events are well attended and have brought in a diverse cross section of students, faculty and staff from within the UCSD community as well as the San Diego community at large.

This panel will focus on current collaborations between the Visual Arts department at UC San Diego and organizations within Balboa Park. Including the formalized internship experiences for undergraduate UC San Diego students at the Mingei International Museum and San Diego Museum of Art. We hope to include alumni that are currently working in the park and current student interns from various majors to share their experiences.

From the Classroom to the Community: UCSD's Urban Studies and Planning Program

Our presentation considers best practices in applying classroom-based knowledge to action-oriented student research in urban neighborhoods working in collaboration with community-based partners. It describes strategies for effectively teaching students specific skill sets in the classroom that can then be applied to real world projects in the community. These skill sets include technical knowledge, critical thinking, communication methods (writing, oral, and graphic presentation), and research methodology. In particular, we present the lessons learned from several recently completed courses and projects in the Urban Studies and Planning Program at UC San Diego. Our presentation will highlight several successful examples of aligning classroom curricula with the skills students need to effectively complete action-oriented research. We will present three examples: 1) In-class instruction of Geographic Information Systems (GIS) and students’ successful application of GIS to community-based projects; 2) In-class instruction on of research methods and students’ successful completion of a survey designed and administered in partnership with a community partner in City Heights; and 3) In-class instruction of demographic analysis and asset mapping and the completion of two projects in conjunction with a community partner in Southeastern San Diego. Our presentation will incorporate the voices and experiences of the assemblage of participants required to effectively link in-classroom instruction with action-oriented student research: faculty instructors, students, and community partners. We will discuss the processes employed to successfully facilitate these types of efforts. We will focus on best practices that can be transferred to other action-oriented student research projects at UC San Our presentation considers best practices in applying classroom-based knowledge to action-oriented student research in urban neighborhoods working in collaboration with community-based partners. It describes strategies for effectively teaching students specific skill sets in the classroom that can then be applied to real world projects in the community. These skill sets include technical knowledge, critical thinking, communication methods (writing, oral, and graphic presentation), and research methodology. In particular, we present the lessons learned from several recently completed courses and projects in the Urban Studies and Planning Program at UC San Diego. Our presentation will highlight several successful examples of aligning classroom curricula with the skills students need to effectively complete action-oriented research. We will present three examples: 1) In-class instruction of Geographic Information Systems (GIS) and students’ successful application of GIS to community-based projects; 2) In-class instruction on of research methods and students’ successful completion of a survey designed and administered in partnership with a community partner in City Heights; and 3) In-class instruction of demographic analysis and asset mapping and the completion of two projects in conjunction with a community partner in Southeastern San Diego. Our presentation will incorporate the voices and experiences of the assemblage of participants required to effectively link in-classroom instruction with action-oriented student research: faculty instructors, students, and community partners. We will discuss the processes employed to successfully facilitate these types of efforts. We will focus on best practices that can be transferred to other action-oriented student research projects at UC San Diego.

If you are traveling from out-of-town to San Diego, there are many hotels who partner with UC San Diego to offer group and discounted rates. Please refer to La Jolla & San Diego Resources for lodging, dining, and other services close to the UC San Diego campus.

Things to Consider

Keynote Speaker:

Mimi Ito

Mizuko Ito is a cultural anthropologist of technology use, focusing on children and youth's changing relationships to media and communications. She recently completed a research project supported by the MacArthur Foundation a three year ethnographic study of kid-initiated and peer-based forms of engagement with new media. In 2008, she was awarded the Jan Hawkins Award for Early Career Contributions to Humanistic Research and Scholarship in Learning Technologies from the American Educational Research Association.